


The Boy Princess

by khilari



Category: Shoujo Kakumei Utena | Revolutionary Girl Utena
Genre: Meta Essay, Nonfiction
Language: English
Status: Completed
Published: 2018-07-27
Updated: 2018-07-27
Packaged: 2019-06-16 22:01:25
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 1,381
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/15446790
Author URL: https://archiveofourown.org/users/khilari/pseuds/khilari
Summary: Meta, not fic. An analysis of Saionji, gender roles, and the roles Ohtori imposes on people.





	The Boy Princess

**Author's Note:**

> I usually stick to posting fic here rather than meta, but then my main fandom is an open canon that can turn all previous speculation upside-down at a moment's notice. Since I'm writing for a closed canon here, I thought I might as well put this up.
> 
> Also tumblr messes up the supertext for my footnotes in different browsers, so I'm giving this thing proper footnotes somewhere if it kills me.

An analysis of Saionji ~~that Saionji himself would hate~~.

Once upon a time all the girls of the world were princesses. But what does that mean?

Princesses are saved by princes. Princesses are cherished, not for any particular qualities they have, but by their nature. A princess’ suffering is never met with indifference and they’re allowed to want someone else to solve their problems. They’re allowed to be passive and dependent, but not allowed to stop being those things. And they are devoted to their prince.

Boys cannot be princesses, but who would want to when the price is passivity?

Once upon a time Saionji had a friend he thought the world of. Touga was stronger, smarter, braver, always ahead of him in some indefineable way, and none of this was a reason to feel anything but glad that Touga had singled him out for attention. Then, one stormy night, he was suddenly faced with the awareness of fear and despair, with things people might need saving from, things that could make a child younger than him want to die. Also, with the awareness that Touga had already known, that he could face these things without fear[1].

Saionji’s distress, though, doesn’t matter. Touga declares himself an ally to all girls, but his best friend calling out for him to stop doesn’t affect him. It’s with the logic of a child in the throes of hero worship that Saionji concludes that Touga had something eternal to show and showed it to a strange girl rather than him. He’s not wrong, though, to think that Touga wants to save, specifically, girls.

Before that Saionji trusted Touga enough that Touga being stronger and more driven didn’t matter. If Touga accidentally hurt him he would bandage him too. Touga might keep them out late, but he’d be the one to get them home[2].

Afterwards, he loses that trust. Whatever Touga gains by being stronger will not be shared with Saionji. Saionji cannot be weak and still be worth something.

As a boy, if he wants to matter to Touga, he has to be his equal.

* * *

Saionji’s career as a duelist is ignominious from start to finish. He’s trying to be a stoic warrior type[3], which – since he’s a very emotional person – results in vacillating between anger and vicious glee.

Being equal to Touga is now necessary to even be safe around him. Saionji isn’t, so he isn’t, and even his scrambling to gain equality has become something for Touga to use against him. The first time we see them alone together Saionji whips a sword at Touga’s face and Touga doesn’t even flinch. No matter how often Saionji takes his frustration with Touga out on others, Touga’s the one person he would never willingly hurt, and Touga knows it.

The person Saionji mostly hurts is Anthy, who he’s convinced himself that he loves. She’s everything he thinks he ought to want, and Touga wants her enough to duel for her which makes her irresistible. He tries to convince himself she loves him, too, but never quite manages to forget she’s only with him because he owns her.

Saionji’s duels are “friendship” and “choice” in opposition to Touga’s duels of “self” and “conviction”. The qualities he’s trying to act on, though, are Touga’s not his own. The result is that he doesn’t successfully show any. He craves emotional connection but is, for good reason, widely disliked. Yet his sense of who he is alone is muddled at best. He stubbornly sticks to the duels but has no plan for how to accomplish things within them and winds up manipulated by anyone who offers him an opportunity – whether it’s dubious letters or Mikage bargaining for Wakaba’s hairclip.

Saionji’s final duel isn’t the conclusion of his character arc, but his lowest point. In an arc where the duels are based around relationships he enters the arena alone and “his” duel is really Utena and Anthy’s[4].

Touga talks him into the duel, a role which will later be the bride’s, but leaves him to fight it alone[5]. As the only one who doesn’t have his sword, Saionji’s heart is quite literally not in the duel.

Saionji enters the last duel as a lone warrior who lets nothing stand in his way, especially such petty considerations as decency or feelings, and is promptly flattened by the developing relationship between Utena and Anthy.

Finally Saionji has failed hard enough for it to stick. He accepts that he’s done. He won’t be Touga’s equal, he won’t win Anthy, he won’t gain eternity. But what will he do?

* * *

The woods in a fairy tale are always a liminal place. Even more so woods where an unwanted “child” has been abandoned. So it’s fitting that Nanami stumbles across Saionji in a state of transition from duelist to outsider.

In a series where clothing and gender presentation are important, Saionji has decided to do some cooking in a frilly apron[6]. There’s even a lacey table cloth under his hot plate. A lot of anger seems to have been shed with the role of duelist and, even though Nanami hits him, he seems mostly confused and worried about her. He even offers to cook her an egg.

While he keeps the slightly ambiguous presentation for camping out where he doesn’t expect to be seen, Saionji does start taking on a role similar to Utena’s early one as Touga draws him back into the duels. Utena never cared about the power to revolutionise the world. While it’s not entirely that straightforward, she’s been fighting for Anthy. As a result she’s often been snarky as hell about it, able to see through some of the bullshit but not avoid it completely. A female prince, and therefore anomalous to Ohtori’s systems, but still a prince, and therefore part of them.

Touga and Saionji also can’t move outside Ohtori’s systems. They meet on the student council balcony to discuss Touga’s upcoming duel and letters from Ends of the World. Touga provides an ersatz car ride with his motorbike, following the pattern of the other duels deliberately. But, like Utena, Saionji now has enough distance to question the system even as he participates, and he’s here solely for Touga’s sake.

Like the other brides, Saionji is there to delve into his duelist’s feelings and motivations, but he’s not doing it to tempt or manipulate[7]. _Touga_ needs to understand his own motivation if he’s going to be effective – it’s the less metaphorical counterpart to pulling his sword. And they manage to leave Akio out of the process.

Touga takes Saionji more seriously in this role than he ever did as a rival. Feelings, especially his own feelings, are not Touga’s area of expertise. He needs a bride by the nature of the duels and he needs a friend because he’s in over his head. Saionji, for his part, seems content with being needed rather than being equal. In a way it’s what he’s always wanted.

Saionji drawing Touga’s sword is animated with a real tenderness that both echoes Anthy drawing Utena’s and contrasts Saionji drawing Anthy’s, where his expression was angry and his focus on his opponent. It’s fitting, in a way, that the pair that comes closest to what Utena and Anthy have is the other same sex couple[8].

Saionji makes a good princess in the same way Utena makes a good prince – although, unlike her, he’d certainly object if you told him that’s what the role was. He’s comfortable in it and it brings out mostly good things in him, letting him be insightful and supportive. It’s a bad role in itself, though. Saionji doesn’t need to fight for power over others, but he shouldn’t let himself be completely passive and dependant, or rely on other people’s goals to give him purpose.

Later, between Utena’s victory over them and her final duel, we see Touga riding a bike across the balcony with Saionji on the back. Saionji seems more content with this than Touga, totally relaxed while Touga struggles to move forward providing motive force for them both. There’s not much Saionji can do, though, even if he wanted to. Touga’s bike has never been a tandem.

Maybe they should get one.

**Author's Note:**

> 1Touga’s abuse backstory does a lot to explain his unchildlike reaction here. But even without that, Touga canonically shows less emotion when distressed until he dissociates altogether. He’s almost certainly more affected than Saionji thinks.[return to text]
> 
> 2Who drives is very important in Utena, and it’s Touga’s bike. Nanami has a picture of herself perched on the back, too.[return to text]
> 
> 3Only Utena and Touga frame themselves as aspiring princes. Saionji’s gender essentialism has a more Japanese flavour.[return to text]
> 
> 4Which is why _Virtual Star Embryology_ becomes the new ending theme. [return to text]
> 
> 5And then complains about everything he did to be Saionji’s friend while in bed with Akio. Jerk.[return to text]
> 
> 6He’s still wearing his student council uniform underneath, though, so he hasn’t totally moved on yet.[return to text]
> 
> 7Although he probably gets some satisfaction out of brutal honesty.[return to text]
> 
> 8I wonder if this explains Ruka, since Juri and Shiori would have been another same sex couple either less effective or too early in the sequence.[return to text]


End file.
